Theatre graphics and graphic theatre : Zich's semantics in posters and publicity

Název česky Divadelní grafika a grafické divadlo: Sémantika Otakara Zicha na divadelních plakátech a reklamě
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MARYŠKA Martin

Rok publikování 2020
Druh Článek v odborném periodiku
Časopis / Zdroj Theatralia: Journal of Theatre Studies
Fakulta / Pracoviště MU

Filozofická fakulta

Citace
www http://hdl.handle.net/11222.digilib/142553
Doi http://dx.doi.org/10.5817/TY2020-1-9
Klíčová slova theatre poster; theatre publicity; theatre iconography; visual communication; graphic design; Otakar Zich; Ivo Osolsobě; Gilbert Lesser; Uli Weber; Jakub Gulyás; Alphonse Mucha; Sarah Bernhardt
Přiložené soubory
Popis The essay employs the concept of the 'semantic image' as articulated by Czech aesthetician Otakar Zich in his book The Aesthetics of Dramatic Art in order to outline how theatre publicity relates to theatre production and performance. Theatre graphics, posters, and other promotional materials contain images that substitute or compensate for what is not to be seen and heard onstage in form of 'technical images'; thus, these graphics condition the 'representational images' of dramatic locations.1 Publicity images can be also used to manipulate imagery associations related to actors as well as dramatic characters in order to facilitate their desired reception. This article focuses on the posters produced for Prague's National Theatre opera production of Tramvestie (2019) and two stagings of Peter Shaffer's Equus (1973, 2007) along with Alphonse Mucha's posters for Sarah Bernhardt.
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